So excited that — after welcoming the enthusiastic audience — she initially forgot to introduce percussion masters Steven Schick and Vanessa Tomlinson.

Wright’s excitement was perfectly understandable.

A standing-room-only audience was on hand at Bread & Salt in Logan Heights to celebrate the 200th concert in her envelope-shredding series. The performance teamed UC San Diego music professor Schick and Tomlinson, his former student. It was a synergistic reunion of teacher and protégé, who had shared the stage at the very first Fresh Sound concert in 1997.

“It’s important to say how much Bonnie has given us, how much this series has given us,” Schick — the audacious director of the La Jolla Symphony & Chorus — told the audience.

Both together and in their respective Friday solo features, Tomlinson and Schick were mesmerizing. Their performance perfectly embodied Fresh Sound’s ethos of showcasing provocative music that challenges and rewards listeners in equal measure.

They also challenged themselves with Bree van Reyk’s “Duet with Blindfold,” which required Schick and Tomlinson to execute call-and-response drum exchanges while their eyes were covered with large red scarves. The force of their playing caused wood blocks on a music stand in front of them to tilt beyond their reach, but they barely missed a carefully calibrated beat.

The concert opened with Australian Tomlinson’s quietly dazzling “My Favorite Things,” a piece inspired by desert landscapes and the visionary music of John Cage and former UCSD professor Pauline Oliveros.

It began with Tomlinson “playing” two long ropes. They were attached to a large ladder at one end and two drum sticks, which she held in her hands, at the other. In between, on the floor in front of her, was an array of glass and metal bowls, cooking pans, wooden slats, an empty wine and beer bottle, a Frisbee, a plastic bag and crinkly bubble wrap, which she later distributed to the audience.

The faster she moved the ropes, the more the objects on the floor sounded like giant wind chimes — and the more the two arching ropes visually resembled sound waves.

The next section of the intensely atmospheric “My Favorite Things” found Tomlinson exploring various tonalities by playing a cymbal with a violin bow, creating a zither-ish sound one moment, a whale-like cry the next.

She later performed on a triangle while perched on the ladder, used mallets to deftly drum on the bowls and pans, cleverly read aloud from a hardbound biography of King Edward VIII, and rotated pencils on a piece of paper to simulate the intricate patterns of a jazz drummer playing wire brushes.

Composed between 1922 and 1932 as an ode to pacifism, “Ur” utilizes what Schick aptly described as “discarded objects of language and nonsense syllables,” all of which are written out.

That Schick memorized the entire text was remarkable, but no more so than his ability to achieve a deep musicality while delivering such lines as: Fümms bö wö tää zää Uu and Rinnzekete bee bee nnz krr müü? with growls, trills, elongated notes, whispers, tongue clucks, hisses, finger-popping flourishes and more.

Schick’s voice was projected through a quadraphonic audio system and manipulated on a laptop by UCSD Department of Theater & Dance sound designer Shahrokh Yadegari.

The results were stunning, as Schick and Yadegari crafted cascading choruses, haunting cries, a quicksilver cadenza that evoked the Southern Indian tradition of percussive singing known as konokol, before concluding with a gentle denouement. Each was executed with pinpoint precision and had a wonderfully visceral emotional impact.

Here’s hoping Fresh Sound’s 40th anniversary concert will be just as memorable — and that Schick, Tomlinson and Yadegari will be on hand to perform it, with Wright still guiding this singular series.